32 Facts About Harry Seidler

Harry Seidler was a controversial figure throughout his long career as he regularly publicly criticised planning authorities and the planning system in Sydney.

Harry Seidler was born in Vienna, the son of a Jewish clothing manufacturer.

Harry Seidler then studied visual aesthetics at Black Mountain College under the painter Josef Albers in mid 1946 for the US summer.

Harry Seidler then worked as the first ever assistant to Marcel Breuer in New York from late 1946 until March 1948.

Harry Seidler's parents migrated to Sydney in 1946, and in late 1947 or early 1948, his mother wrote to him to commission him to come to Sydney to design their home.

Harry Seidler arrived in Sydney on 20 June 1948, with no intention to remain in Australia, but to stay only until the house was finished.

In 1952, Harry Seidler successfully appealed against Ku-ring-gai council's refusal to approve his design of a 'glass house' at Roseville.

Harry Seidler was a founding member of the Australian Architecture Association.

For 50 years Harry Seidler has played a vital role in international architecture.

Harry Seidler's work is widely recognised as an original and intensely creative contribution to the architecture of the second half of the 20th century.

Harry Seidler became a Canadian citizen when he was studying in the USA in late 1945.

Harry Seidler travelled to Australia in 1948 on his Canadian passport.

Harry Seidler became an Australian citizen in late 1958 so he would have a passport to travel for work and his honeymoon.

Harry Seidler married Penelope Evatt, daughter of Clive Evatt on 15 December 1958; they had two children.

Harry Seidler enjoyed photographing architecture around the world and some of these are documented in his photography book The Grand Tour.

On 24 April 2005, Harry Seidler suffered a stroke from which he never fully recovered, and died from septicaemia in Sydney on 9 March 2006 at age 82.

Harry Seidler insisted that Modernism was not a style but was in constant flux.

Harry Seidler would explain that Le Corbusier's 1920s modern architecture had columns placed 6 metres apart, whereas by mid-1980s pre-stressed concrete technology allowed 34 metre column-free space, resulting in different visual expression and openness in architecture.

Harry Seidler maintained relationships with his four mentors even after he came to Australia.

Harry Seidler was instrumental in having Walter Gropius address the RAIA Convention in Sydney in 1954.

Harry Seidler collaborated with Marcel Breuer for the Australian Embassy in Paris and Harry Seidler was Breuer's project architect for the Torin Factory in Penrith NSW in the 1970s.

Harry Seidler commissioned Josef Albers artworks for MLC Centre in the mid-1970s.

Harry Seidler maintained a close friendship with Oscar Niemeyer through letters and visits to Rio de Janeiro.

Harry Seidler too insisted that Modernism was not a style ""You know there's a great misconception about that modernism is a style.

Harry Seidler is on record as stating that Oscar Niemeyer's interior of the Boavista Bank in Rio of 1946 with its interacting curves must have influenced Harry Seidler's use of interacting curves in exterior playground and retainer walls from the mid 1960s and throughout the 1970s.

Harry Seidler later worked with Nervi's successor Mario Desideri for the Riverside Centre in Brisbane.

Harry Seidler saw parallels of good modern architecture with the underlying structural geometry of baroque architecture, especially the designs of Italian architect Francesco Borromini.

Harry Seidler stated he learnt more about design from Albers than he did at any architecture school.

Harry Seidler articulated the visual-spatial design principle of modern architecture being "dissolution of conventional solidity" and inter-connecting spatial vistas.

Harry Seidler said of his first work, the Rose Seidler House.

Harry Seidler was a frequent and enthusiastic collaborator with visual artists in the creation of his buildings.

Harry Seidler selected and paid for Australian artworks to be shipped in 1977 to be ready to be displayed for the opening of the Australian Embassy in Paris in early 1978.